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Review: MALL #1 Is A Sharp, Intense, And Haunting Look At Consumerism in America

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Mall #1 is out August 28th from Vault Comics, and it’s an action-packed look at consumerism gone wrong that you absolutely have to read.

The world has ended, and The Mall is all that remains. The residents within are divided into warring gangs that live by two rules: “protect what’s yours, and take from whoever’s stupid enough not to do the same.” Andre Walker, heir to the Gacy’s empire, is framed for the murder of a tribal leader and forced to navigate this treacherous landscape to prove his innocence. 

It’s Dawn of the Dead meets The Warriors, and it’s fucking badass.

The series is by writers Michael Moreci and Gary Dauberman, and artist Zak Hartong, with colors by Addison Duke, and letters by Jim Campbell.

mall #1 review vault comics

First off, Moreci and Dauberman write one of the best opening pages to a series that you’ll ever see. It’s the epitome of “simple yet effective.” In just five panels and ten (short) caption boxes, we’re given everything we need to know about this world. It sets a bleak and gritty tone. Not only that, but it’s told in first person narration, so it builds a personal connection to the reader. We’re not being lectured to; we’re having a conversation. The voice establishes a sort of punk rock, nihilistic atmosphere: the world ended, nothing else matters, let’s get on with the story.

This vibe is solidified by the outstanding art team. Hartong’s linework is gritty; he makes the world feel not only lived in, but worn out from years of violence. His action scenes feel raw and unbridled. Duke then utilizes a muted color palette to emphasize this dark, bleak future, throwing in splashes of brighter, more vibrant colors to make certain moments pop. Campbell actually does the same thing with his letters, throwing in some hot pink sound effects during an action scene. His lettering is otherwise styled in a way that further grounds the story in reality, and it guides your eyes through this hellscape with great ease. Mall has a very unique, intense feeling, and that’s due largely to the art and lettering.

After the opening page, Mall throws you right into the action. Multiple mysteries are set up in the first few pages; there’s an intriguing element of “what the hell is going on?!” that will keep you reading, and then have you demanding the next issue ASAP. Every page is thrilling and engaging, thanks to the explosive art from Hartong and Duke. Every panel feels necessary. Between the intrigue and the action (oh man, this is a bloody comic), there’s not a slow or dull moment between the covers. All of the exposition, worldbuilding, and character development are woven seamlessly into the story. This is a debut issue done right.

mall #1 review vault comics
“Vault Vintage” variant cover, an homage to Gray Morrow’s cover to MARVEL PREVIEW #3 (1975).

But action and intrigue can only carry a comic so far. The stories that last are the ones that have depth and something to say. Mall definitely has something to say. 

This team is telling an exciting story, but if you look under the hood, you’ll see that it’s also a very clear commentary on consumerism and capitalism. As stated earlier, “the world has ended, and The Mall is all that remains.” The society within the mall is a caste system, with power directly tied to wealth. Gangs are named after brands and stores; they’re literal mascots. Our protagonist, Andre, is called “heir to the Gacy’s Empire,” which sounds an awful lot like a certain department store you’ll find in most shopping malls.

Even after the apocalypse, America still values money above all else. The rich are still in charge, only now they don’t have to hide in the pockets of politicians.

Just typing those words filled me with rage, and that’s the true power of Mall. It feels relevant. It feels like this could actually be our future if society continues down its current path. That’s perhaps the most interesting thing about this comic, and it’s definitely the most terrifying.

And Andre seems to be the only one who can see the insanity in the way their society is run, which instantly puts the reader in his corner and makes him an endearing hero worth rooting for.

Mall is the best kind of comic: the kind that nourishes your brain with intelligent, well thought-out commentary while also entertaining the hell out of it. Vault is on a hot streak – maybe one of the hottest the industry has ever seen from an indie publisher – and this series is just another notch in the win column.


FOC (Final Order Cutoff) for Mall #1 is August 5th; call your local comic shop this week and tell them you want it!

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Review: ANGEL #3 Destroying Demons, Internally And Externally

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A terrifying rescue mission puts Angel on the path to salvation but what will be the ultimate cost?

In BOOM! Studios re-imaging of the Buffy-verse, Angel’s past is being rewritten and so, it seems, is his future. Writer Bryan Edward Hill doesn’t shy away from prophetic statements and over hints at what is in store for everyone’s favourite vampire with a soul.

Angel #3 Credit: BOOM! Studios
Angel #3 Credit: BOOM! Studios

Angel Vs Demon

This issue of Angel starts with a demonic smack down. Angel uses his knowledge of the demon world to battle an evil creature without harming the host; at least that is the plan. All of this violence is to rescue a troubled woman trapped in an asylum, a woman haunted by some something demonic. A woman named Winifred Burkle.

Hill opens this issue by showing the reader the consequences of Angel’s past actions. He wants the reader to have the knowledge of the pain and suffering caused by the ‘hero’ in their minds as they move through this issue. The contrast between the opening page and the energetic fight scene that follows tells the reader everything they need to know about where Angel came from and where, emotionally, he is in the present day.

The historic violence is static and controlled. Angel stands above the destruction he has caused and soaks it up. Each moment is a snap shot of suffering. In comparison, the violence in the modern day setting is chaotic and animated. Angel is in the thick of it, taking a beating and fighting hard for himself and those he sees as victims. Hill wants the reader to see how much Angel has changed but also he reminds us that it can take more effort to do the right thing. Being ‘good’ is hard work.

The second half of the comic is about Angel trying to connect with Fred. The plot requires them to work together to defeat the ‘big bad’ in this current story but Hill takes their relationship building much further. With the help/hindrance (you decide) of Lilith, Hill builds an entire world around the two central characters. The hints at what is to come create a heightened level of excitement because of the characters and situations they contain. Hill dives headfirst into the old series and pulls out snippets to tease the readers with.

There is an element of ambiguity regarding some of the flashback/flash-forward sequences because Gleb Melnikov does not rely on creating photo-realistic impressions of the characters. Melnikov’s style does however work in the narratives favour. By hinting at so much in the story Hill could spoil any twists or surprises coming up but by creating a visual ambiguity it fuels speculation. Is that Darla in one of the flashbacks? It is a little unclear, although it alludes to that fact, but nothing is certain.

Angel #3 Credit: BOOM! Studios
Angel #3 Credit: BOOM! Studios

Visual Storytelling

One of the visual strengths in this issue of Angel is the dynamism Melnikov injects into the compositions.  He creates an abstracted 3D world that the characters inhabit producing an uncomfortable feeling in the reader. It draws on the horror aspects at the heart of Angel’s story where nothing is safe and the world contains a wealth of the unknown. The violence is accentuated because Melnikov drops the backgrounds and shows the reader only the interactions between the two characters fighting. Your attention is focused entirely on the back and forth between the two battling demons.

After this opening scene the page layouts are more inviting, allowing the reader to settle into a sense of security as the connection between Angel and Fred is built. Melnikov uses establishing shots to create this safe environment and to illustrate the relationships between the characters in the scenes. The building of this safe environment helps to make a number of scare panels work effectively later in the comic.

The mood in each scene has been created by Roman Titov’s colors. The vibrate reds and oranges during the fight make the moments larger than life while expressing the sense of danger for the characters. Titov then pulls back on the coloring, favouring muted, naturalistic colors for the background in Angels home.

Some elements of the scenery are aptly colored to reflect the characters that the props interact with. Most notably is the chair in which Fred sits. Titov has colored this with a dark green representing the illness Fred is inflicted with. It is a constant reminder that there is something wrong with Fred, even when her speech patterns suggest otherwise.

Ed Dukeshire is responsible for successfully bringing out the speech patterns of the characters. He constantly breaks Lilith’s speech up in to several balloons; some joining while others are linked via connectors. This gives Lilith a majestic, mysterious ambience and adds weight to her words.

Angel #3 Credit: BOOM! Studios
Angel #3 Credit: BOOM! Studios

Conclusion

Angel often plays second fiddle to Buffy and is often over looked in the larger conversation. This new series, and this issue in particular, is recreating the mythos in intriguing ways. Hill has packed this comic with foreshadows and prophetic speech but keeps it all within the narrative structure. Although he is constantly setting up future events it all seems relevant to the story in hand.

There is a lot of impressive storytelling going on in Angel with each creator picking out the emotional aspects of the characters and the story. The small details add additional layers to the pages, giving the reader more insights into the cast. In short, everything serves a purpose and this makes Angel a gratifying read.

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Review: Classic Batman/Joker Action in DETECTIVE COMICS #1008

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Detective Comics #1008 takes place against the backdrop of DC’s Year of the Villain event. While the last few pages have some tie-in material, most of the issue is dedicated to classic clown antics.

The Joker is back in town, taking over—where else—the local theme park. He holds the park’s attendees hostage with Joker Venom, forcing Batman to play along with his carnival charade until Bats can find a way to stop his reign of terror.

The Writing

Detective Comics #1008 opens with a familiar premise. The Joker gets back to basics, launching a seemingly-meaningless stunt to goad Batman into reacting. The first half consists mainly of Joker menacing his hostages; Bruce doesn’t hit the scene until near the book’s midpoint. It’s nothing we haven’t seen before, but it’s presented well enough to make it decently engaging.

The interactions between Batman and The Joker are the focal point of the book. Much of the story’s middle section, probably it’s most interesting, show the pair simply taking in the fair together. They work off one another in a straight man / funny man routine, actually producing some decent humor. This is, to be honest, the book’s most interesting element.

We don’t really know too much about Joker’s plan in Detective Comics #1008. We see that his hostages are under threat from Joker Venom, and presumably they can’t simply remove the devices that deliver the toxin. The setup for the punch line isn’t really established, though, as Joker alludes to some vague unspecified doom on the horizon (an allusion to Year of the Villain). The whole situation is largely a contrivance to get Batman and Joker together for the purposes of comedy. It’s not as much of a problem as it sounds, though. As mentioned, the plan isn’t the book’s point; it’s the interactions between The Joker and Bats that sell the work.

From a writing standpoint, it’s not the most interesting or substantial work in Tomasi’s run thus far. That said it’s an enjoyable read, presenting a simple, close-ended story in a single issue. Classic fare for what is, at its core, an episodic detective story.

Detective Comics #1008

Detective Comics #1008

The Artwork

Doug Mahnke’s on art detail for Detective Comics #1008. His scratchy style gives the book an interesting look, providing some added grit to the visuals.

The facial expressions are a standout point in the art department, especially with The Joker. Mahnke seems to take special glee in drawing the manic, stretched, and lined face of the character, and it comes across in the unsettling, ever-sinister clown’s eyes and smile. This vision of the Clown Prince of Crime is really a visual treat.

The pages are broken up without much consistency in layout in Detective Comics #1008. There is also a lot of contrast in where the reader’s eye lands from one panel to the next. That said, the artist still manages to present a consistent final product with good flow that hits the story beats.

There are lots of vibrant colors courtesy of David Baron. The artist manages to inject subtle hints of shadow and darker textures into the mix, though, despite the garish tones that the carnival setting calls for. The colors are true to the story, but also help sell the subtle menace behind the Joker’s actions. It’s great work, all things considered.

Final Thoughts

Most of Detective Comics #1008 doesn’t seem very significant in a broader narrative context. That said, it’s an enjoyable one-and-done story. It might qualify as filler, but at least it’s good filler. Find it this week at your local comic shop.

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Marvel Comics Preview: THANOS #4 (OF 6)

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THANOS #4 (OF 6) hits your local comic book shop on July 31, but thanks to Marvel Comics, Monkeys Fighting Robot has a five-page preview.

About the issue:
Gamora is coming into her own, but as the bond between her and Thanos continues to grow, so does the unrest among the proto-Black Order… Now, with the threat of mutiny brewing underfoot, Thanos will do anything to keep his power – no matter the cost.

THANOS #4 (OF 6) is written by Tini Howard, with art by Ariel Olivetti, and Jeff Dekal worked on the cover.

Check out the preview below:

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Marvel Comics Preview: STAR WARS AGE OF RESISTANCE SPECIAL #1

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STAR WARS AGE OF RESISTANCE SPECIAL #1 hits your local comic book shop on July 31, but thanks to Marvel Comics, Monkeys Fighting Robot has a five-page preview.

About the issue:
A ONE-SHOT SPECIAL FEATURING YOUR FAVORITE CHARACTERS FROM THE NEW STAR WARS TRILOGY! Star Wars fans first met Resistance leader and confidante of Leia Organa VICE ADMIRAL AMILYN HOLDO at the end of her story in 2017’s The Last Jedi-now, witness her triumphant beginning! This July, Hugo Award-winning writer G. Willow Wilson (MS. MARVEL) explores a pivotal conflict in Holdo’s early career that will start the young woman down the path to heroic infamy for the rebellion! With her ship at the mercy of a dangerous enemy, it’s up to Holdo to outsmart their foe and win the confidence of her compatriots in the process. With art by Elsa Charratier! The infamous “pirate queen” of Takodana, MAZ KANATA, thought she’d seen everything in her thousand-plus years of running a bar and hiring smugglers. But it turns out that the criminal underworld is always full of new surprises…especially when she hires HAN SOLO and CHEWBACCA for a job!

And Poe Dameron’s loyal companion, the astromech droid BB-8, just can’t seem to stay out of trouble. His missions always seem to escalate into a full-blown adventure! And if it means a win for his friends and the heroic Resistance freedom-fighters the little droid will stop at nothing to get the job done!

STAR WARS AGE OF RESISTANCE SPECIAL #1 is written by Tom Taylor, G. Willow Wilson, Chris Eliopoulos, with art by Elsa Charretier, Matteo Buffagni, Javier Pina, and Phil Noto worked on the cover.

Check out the preview below:

Marvel Comics Preview: STAR WARS AGE OF RESISTANCE SPECIAL #1

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Exclusive AfterShock Preview: ORPHAN AGE #5 – Dark Times Are Coming

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The post-apocalyptic adventure ORPHAN AGE #5 hits your local comic book store on August 14, but thanks to AfterShock Comics, Monkeys Fighting Robots has a four-page preview of the issue written by Ted Anderson with art by Nuno Plati.

Orphan Age is a modern-day western centered on building characters and creating emotional attachments to its diverse cast. A cross between The Walking Dead and The Good, The Bad, and the Ugly. – Darryll Robson

About the 32-page issue:
Surrounded by lights. No way in or out. The dead send a message. The tools they left us and those we built again. Some secrets are better-left secret. Some forgotten moments are better left forgotten. If there is no road, make one.

Anderson has previously worked on MOTH & WHISPER, My Little Pony, and Adventure Time. You will recognize Plati’s artwork from Alpha: Big Time and Marvel Girl. ORPHAN AGE #5 is lettered by Marshall Dillon, with colors by Joao Lemos.

Check out the ORPHAN AGE #5 preview below:

Exclusive AfterShock Preview: ORPHAN AGE #5

Exclusive AfterShock Preview: ORPHAN AGE #5

Exclusive AfterShock Preview: ORPHAN AGE #5

Exclusive AfterShock Preview: ORPHAN AGE #5

Exclusive AfterShock Preview: ORPHAN AGE #5


Do you have ORPHAN AGE on your pull list? Comment below with your thoughts on the series and AfterShock Comics.

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INVISIBLE KINGDOM #5 Ends On An Exceptional High

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The climactic end to the first arc of Invisible Kingdom will leave you in awe and desperate for the next chapter.

The Berger Books imprint of Dark Horse Comics has a dedication to great storytelling and Invisible Kingdom is a prime example of this manifesto. The plot, the art, and the design all work together to give the reader a breath taking reading experience.

In this issue the desperate crew of the Sundog face the overwhelming might of a Lux Warship. With little chance of success, the crew throw everything they have into the onslaught and prey for a David verses Goliath type victory.

INVISIBLE KINGDOM #5 Ends On An Exceptional High
Invisible Kingdom #5 Credit: Dark Horse Comics

G. Willow Wilson understands that a person’s true character is revealed when faced with impossible odds. The confrontation in this issue, and it takes up the majority of the comic, is a catalyst for showcasing the cast of characters that have been introduced over the previous four issues. Readers get to witness the cool headed strength of Captain Grix; the loyalty of the crew; and the immense faith embedded in Vess. Even the villainous Warship Captain has a moment to shine, albeit a wash with vile, self-assured arrogance.

Each moment of action is a way for Wilson to engage the reader with the characters on an emotional level. The exhilarating action heavy plot is the top layer of the narrative, with Wilson building character and relationships underneath. As a reader you are swept away by the impossible task the Sundog crew face but within the flood you are exposed to a mix of emotions. This issue takes you on an emotional rollercoaster and there is a moment of relief at the end when it is over and you can breathe again.

Without doubt Christian Ward’s artwork will blow you away. Five issues in and you would expect to be used to the artist’s beautiful vision but his elaborate, painterly style is a constant pleasure.  He captures the chaos of battle as easily as the majesty of space travel. Each page is packed with colourful images barely contained within the confines of the panels.

Ward’s page layouts represent the chaos of battle as much as the artwork itself. He shifts from structured layouts to pages almost devoid of the normal comic book form. Boarders disappear and the images bleed to the edges on all sides. The art reflects the danger of the situation and the traumatic experience that the small crew of outlaws face.

Ward uses shapes and shadows to direct the reader through the page however it is Sal Cipriano’s lettering that does most of the hard work. The placement of the caption boxes and word balloons creates urgency and emotional pauses. He uses subtle, and some not so subtle, changes in the text to emphasise the personalities of the characters. Cipriano’s lettering is the stable framework around which Wards artwork hangs, as well as being the visual punch to Wilson’s script.

INVISIBLE KINGDOM #5 Ends On An Exceptional High
Invisible Kingdom #5 Credit: Dark Horse Comics

Invisible Kingdom has been a successful partnership between creators from the first issue. Each element of the comic works to enhance the reading experience without becoming dominant within the comic. This is especially impressive because of the talent involved, each creator is individually a strong voice within their craft. To come together and produce a comic of this standard without one aspect overshadowing another is a tribute to their talent and commitment to the comic.

Science fiction is extremely popular at the moment, especially with publishers like Marvel and studios like Disney pushing out more and more space based narratives. This makes it difficult for smaller, creator owned material to break through. However, Invisible Kingdom should not have a problem finding a place in the market. The narrative is engaging; the characters are varied and complex; and the art work is outstanding in every aspect. This is a beautiful, exhilarating  read and should be on everyone’s reading list.

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Review: Mila, Andy, And Bandit Flee From Mother’s Forces In ASCENDER #4

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Andy and his daughter Mila have been on the run from Mother’s forces for some time now, all because of their robot dog Bandit. In this world, technology has been outlawed, and an army of sorcerers will stop at nothing to eradicate any form of technological resistance. But hope for the trio lies in the docks on Sampson and the ships they harbor. Will they make it before Mother’s monstrous vessels destroy them?

Story

ASCENDER #4 is largely a connecting issue that remains in motion, refusing to halt the narrative in just one place. Jeff Lemire and Dustin Nguyen work in a satisfying dialogue to show reader’s what the character’s are feeling while avoiding forcing it into the issue’s non-stop action. Mila and Andy, having momentarily escaped the vampiric beings who raided their house, rush across the landscape as even more monstrous beings approach them.

Mother's ships attacking Andy and Mila

Just when readers become fully engrossed by the non-stop action on Sampson, the authors immediately shift the narrative to Mother. This abrupt change keeps us on our toes and reminds us who the real threat is. Indeed, it is here we see her viciously interrogate a UGC commander who’s leading the resistance.

All of this calamity and violence is leading to an all-out war between users of technology and magic wielders, reflecting the conflict in the previous DESCENDER series. Can Andy, Mila, and Bandit escape the coming violence? Readers will be overcome with anticipation as they await the outcome.

Art

Nguyen’s artwork is arguably the main driving force behind ASCENDER #4. His penciling, inking, and coloring depict incredible scenes of Mila, Andy, and Bandit’s escape from Mother’s army on Sampson. Readers will hold their breath after seeing the trio leap off cliffs, swim in colorful lakes, and ride the fantastical flying sea turtles as the family makes their way to the docks.

Steve Wands’ lettering and design work beautifully frames the story’s artwork. While the dialogue is less prominent than in previous issues, he makes the most of it by filling empty spaces with onomatopoeia words, such as when the dragon-like beings send exploding fireballs down or the characters plunge into Sampson’s watery depths.

giant turtle ferrying Andy and Mila

Comic Cover

Nguyen’s cover illustration places all of the focus on Mother, as well as all of the “Mothers” who have come before her. We see their spirits floating around the overlord to reflect their continual influence upon her psyche.

Conclusion

ASCENDER #4 pushes the narrative forward at lighting speed, but successfully brings readers along for the ride. Hopefully we’ll receive more explanations regarding the docks and Mother’s interrogation of the UGC.

Did you like the illustrations of Mila and Andy’s escape? Let us know in the comments below!

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Review: Barry’s Origin Comes to an Exciting Conclusion in THE FLASH #75

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The Flash Year One Comes to an Exciting Conclusion!

Year One of the Flash has been quite eventful. After getting his powers, Barry traveled to the future and saw his city under the control of a metahuman named King Turtle. He went back and found the present version of Turtle and took him down. Since then, The Flash has worked to save the city and work on his relationship with Iris.

Before he can get too relaxed, however, King Turtle arrives from the future and begins to invade. Barry grabs his new suit and prepares to face off with the King. Unfortunately for him, the future villain releases his younger self to team up against Barry. How can the Flash take on two Turtles?

Flash 75 cover

**Some Spoilers Below**

 

Story:

Picking up from right where we left off, Flash does more dodging than he does fighting the Turtles. The people of Central City see the speedster fight, and after seeing a chance, they swarm the base to help. Even Iris joins in on the fight freeing a few of the civilians before facing the present Turtle. Flash builds up speed and tries to go at King Turtle, but the villain blasts him with the Still Force. As he feels the Still affecting him, Barry pulls on the energy of the Speed Force to overpower it. Flash can trap the Still Force in the present, stopping the future kingdom of King Turtle from coming to pass.

Flash 75 p1

This is your standard ending to an origin story arc. The villain is defeated, the hero learns what’s most important to him, and the future is hinted at being a bright one. This, however, doesn’t make it a bad issue by any means. The action is excellent, and watching the impact Flash has had on Central City is a bit heartwarming. I know cities support their heroes, but since day one, Central City supported Barry. This is another example of how this arc shows us what made Flash the way he is. From Iris’ impact to the city’s support, Year One nailed the origin of the fastest man alive.

The story also has not one but two epilogues. While one is a perfect way to end the arc, as well as several arcs in the series so far, the other, however, is just another tie-in to the Year of the Villain. It isn’t necessary, but it’s perfectly harmless.

Flash 75 p2

Art:

Howard Porter concludes the arc strong with some of his best work. He can catch the best parts of the Flash and his powers with every page. Near the end of the issue is a two-page spread of the entire Flash family, both of the current continuity and pre-new 52. It could be this reviewer’s favorite page in the whole series.

The only downside is that Porter only does the art for the main story. Scott Kolins returns for the first epilogue, which is sadly a miss for me. It’s not terrible, but its certainly a downgrade. That said, the Year of the Villain epilogue, covered by Christian Duce, was fantastic and left the art on a high note. Overall, this comic looks wonderful, helping the arc stick the landing.

Flash 75 p3

Conclusion:

Year One has ended, and it went out on a high note. The story was top notch, showing the readers the true heart of the Flash in an epic way. The art of Porter had always been great for this arc, and it succeeded here. Year One as a whole was a bit shaky at the beginning with treading familiar ground, but it was able to make a name for itself by being a stand-alone story that shows newcomers what makes Barry a hero. This arc succeeded and here’s hoping the future can be just as bright.

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Review: MARTIAN MANHUNTER #7 Meet the Martian ManEATER

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Rooted in horror, Martian Manhunter #7 reveals a larger plan from a familiar face.

If you’re not reading this book at this point, you obviously have a hatred for good horror. Like Immortal Hulk, Martian Manhunter, from Steve Orlando and Riley Rossmo, uses body morphing and transformations that would make John Carpenter jealous. Rossmo’s art is one of a kind and perfect for this book. Ivan Plascencia’s color work is always amazing, but I feel it is phenomenal when combined with Rossmo’s pencils and inks. Deron Bennett is providing the lettering. Everything mixes so well in this book like they were all meant to work together.

MARTIAN MANHUNTER #7 Spoilers Below

At the top of this story, we are told this is taking place in Colorado a few years ago. Police are gathering outside a barn ready to bust in and free some prisoners. The barn is undercover as a pig farm, but the cops are there for human trafficking. The Vulture Cartel are the people running the operation, a fitting name for such folks. They can’t help but reveal information during the ensuing shootout, so we discover that this operation is merely a way station for the rest of their operation, and disabling this location will do nothing.

Rossmo captures the anxiety and hopelessness of these dire situations. Creating very detailed environments that give you a feeling of claustrophobia, like our heroes are trapped and there is no escape, adding a feeling of dread over the entire issue. Pigs pens clutter the area, the actual pigs are scattering and tripping up people all over the place, bullets are flying, whizzing past the detectives at extremely close range, narrowly missing time and time again. It’s definitely not a situation I would storm into.

As Midleton PD gets the first-floor situation under control, one last Vulture escapes into an elevator. Our main characters, Meade and Jones board the elevator and proceed to go down. In the elevator, Meade tells Jones if you have any other special abilities that this would be the time to put them to use. Jones pleads with her that he can’t be that person anymore. Inferring that perhaps J’onn doesn’t have a grasp on his powers anymore. Meade doesn’t buy it if he can mind wipe why doesn’t he use that to mind read? Jones can feel enough to know that the thought-stream is messy, and there are professionals waiting for them.

As the elevator opens, all hell breaks loose. These men are armored up, equipped with Martian tech, and ready for destruction. As Meade and her partner are pinned down, backup is not coming; the situation looks dire, Jones goes invisible and begins his assault on the Vulture Cartel. Disabling their guns with his laser eyes and throwing a few unseen punches, the Vultures go down quickly. Tabling a discussion for later, they bust through the door these professionals were protecting, what they find is absolute horror and not at all what they were hoping for. If you want to know what happens next, you’ll have to read the book.

Rossmo’s art carries this title, of course the writing gives him the story to draw, but his art is original and perfect for this genre. If realism is what you’re searching for, this book is not it, and that is exactly why I love it. The quick pace of this issue builds palpable anxiety, with environments that feel isolated and claustrophobic. Our lead detectives appear in constant danger the entire issue, even later on when they are discussing the day’s events. Usually with pacing like this in an issue you could finish it in 10 minutes, yet Rossmo’s art keeps you admiring the pages with a unique style that brings such a breath of fresh air to the medium.

What did you think of this issue? Let us know in the comments below.

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